{"id":774,"date":"2013-07-10T06:57:34","date_gmt":"2013-07-10T06:57:34","guid":{"rendered":"http:\/\/bigheadamusements.com\/wordpress\/?p=774"},"modified":"2016-09-15T02:48:08","modified_gmt":"2016-09-15T02:48:08","slug":"getting-in-sync-with-the-sony-avc-3250-part-i","status":"publish","type":"post","link":"https:\/\/bigheadamusements.com\/wordpress\/?p=774","title":{"rendered":"Getting in Sync with the Sony AVC-3250: Part I"},"content":{"rendered":"

In late July, Andrew Bujalski’s \u00a0Computer Chess<\/strong>\u00a0will be released in Toronto, and by all accounts (if not from the trailer alone) this isn’t an ordinary film production. Instead of using HD cameras that offer the maximum image quality to convey a 1970s drama, Bujalski opted to use actual vintage video gear from the era – a Sony AVC-3260 – part of a line of B&W vidicon tube cameras that offered low-end, broadcast quality images for school, university, cable access, and industrial productions.<\/p>\n

With digital software offering so many options to evoke a period look, film grain, and custom colours, why would anyone use 40 year old video cameras?<\/p>\n

Aesthetics, authenticity, novelty, and perhaps the challenge in seeing what could be achieved when antiquated media – B&W video – acquires the images, and the footage recorded on modern digital gear, after which it’s imported into a current workflow system to create not a short experimental film, but a feature-length movie.<\/p>\n

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